In this television segment from the 1970s Canadian show Arts '74, artist Evelyn Roth discusses her work in textiles. In the first clip, she shows how she uses videotape as a material for crocheted wearable sculptures (including one which fastens the viewer to a television set) and even a car cozy. Roth's costumes reminded me of those in Forcefield's videos, and her interiors echo a bit with some of Donna Huanca's stage installations and Jacqueline Gordon's Dream Blankets. Neat!

Artist Rafaël Rozendaal posted the contract he uses when selling his single serving sites. I thought I'd share it here, as I thought it might be helpful for other artists wishing to do the same. Below, Rozendaal explains:

I think in moving images, and I don't think moving images are objects.
I place these moving images in domain names. Each URL is the title and the location of each art piece. These websites are public, their ownership is exclusive. Domain names are one of the internet’s few scarcities. They are unique, they can't be forged or copied.

This contract explains the rights and duties of the artist and the collector, to make sure the work remains intact as long as possible. It was drafted by Aernoud Bourdrez, attorney at law.

“Highways Connect and Divide,” an exhibition on display at Foxy Productions featuring work by Cory Arcangel, Tauba Auerbach, Bureau of Inverse Technology, I/O/D, JODI, Nam June Paik, Sterling Ruby, and Kerry Tribe, considers how the structure of information influences its transmission, reception, and legitimacy. Using the highway as a metaphor, the show constructs a dialog concerning the geography of transmission and the role of the artist in reimagining the systems that impact our lives.

Highways, or channels of transmission are playfully interrupted in Nam June Paik's pioneering work Beatles Electroniques (1966-1972), where a TV broadcast of the Beatles’ A Hard Day's Night (1964) is disrupted by a magnet, rendering the familiar images into abstractions that reveal the underlying technological structure of the electronic signal. In a similar vein, though nearly forty years later, JODI's Geo Goo (2008-2011, ongoing) obstructs Google maps with failures and errors, stripping it of functionality and turning the ordered maps into chaos. The result is a disorienting and emphatic challenge to the technology’s authority and power. In both works, the technological architecture is given precedence over the intended distribution of content.

Kerry Tribe, North is West / South is East, 2001 (Photo: Mark Woods)

Maps are also the subject of Kerry Tribe's work North is West / South is East (2001), where the geography of Los Angeles is redrawn from memory by random individuals approached at the LAX Airport. The resulting maps, framed and mounted on the gallery wall, elevate the personal and unique realities over the legitimate cartographic version. Legitimacy and authorization are challenged further by Bureau of Inverse Technology's (BIT) video Bit Plane (1997), where ...

We've launched an archive compiling the past 15 years of Rhizome's microsites, created for special events, projects and publications. Each one took a little work to incorporate into our new website, but our heroic director of technology, Nick Hasty has revived and resuscitated everything he could find from 1996 to 2011.

Natalie Bookchin and Blake Stimson first met in New York in the early 1990s when they were both affiliated with the Whitney Independent Study Program. This exchange took place over email, for the most part between their respective homes in Southern and Northern California during the summer of 2010.

Although she has a rich and varied artistic background, one theme that has regularly come to the fore in Natalie Bookchin’s work is a concern with documentary. In some of her early work, this concern seemed to emphasize the inhumanity of recording machines in the way that Andy Warhol’s, or perhaps Gerhard Richter’s, work did. In a different way, the entire ‘found object’ tradition associated with Duchampian indifference, and still so manifest in much contemporary art, also seemed to feature in Bookchin’s work. Here, we might recall an early piece for which Bookchin photographed everything she owned, object by object, down to the last paperclip; or perhaps, in a different sense, the Universal Page she created with Alexei Shulgin in 2000, which promised an algorithmically derived objective average of all web content. In one sense, her recent work of gathering videos from the internet might be said to continue in this vein—at least insofar as she is functioning as an aggregator of existing content drawn largely from YouTube, in a way similar to a service like Digg or any of the many interest or attention measuring functions of the web (not the least being Google and other search engines).

On the other hand, Bookchin’s work possesses a strong, even impassioned, activist element of the sort consistent with the reportage tradition extending back to John Heartfield and Sergei Tretiakov, or Jacob Riis and Lewis Hine before them. For example, in the interview Bookchin and Shulgin published in conjunction with the exhibition of Universal Page, Bookchin spoke of that time as one that demanded ‘superactivity’ because ‘there are vitally important things that need to be done’ to ‘resist total corporate, technological, and institutional takeovers’. In addition, her multiplayer game agoraXchange was created in collaboration with the political theorist Jackie Stevens, and called for ‘an end to the system of nation-states, the demise of rules rendering us passive objects tied to identities and locations given at birth’, and the elimination of ‘those laws requiring us to live and be seen largely as vessels for ancestral identities’. And finally, there was her very funny announcement, in 1999, of her intention for a journal titled BAD (standing for Burn the Artworld Down) that was ‘committed to the documentation of acts of terrorism and agitation against the institutional art world’. All of these works have performative dimensions to them, and as such call up a sense of tongue-in-cheek detachment from the subjects they purport to represent. Yet, to varying degrees, they also seem earnest and forceful political statements.

The New Art Dealer’s Alliance (NADA) and The Big Screen Project present a VIDEO EXPERIMENT, “One Shot” at The Festival of Ideas for the New City. The Festival will take place on Saturday, May 7, 2011, from 11AM-7PM on or around the Bowery between Houston and Spring Street (exact location TBA).

The inspiration for this “experiment” is Ok Go!‘s White Knuckles music video:

This is an open call for submissions from performers: artists, musicians, dancers, etc… who would like to create a video in our booth during the festival. The HD video camera and camera person will be provided, however you are responsible for any props, costumes, lights, music and choreography. Six of the proposed submissions will be selected to shoot during the festival on May 7. One hour will be allotted for each participant. The allotted hour will include set up, shooting and striking the set. You will have the opportunity to shoot as many takes as you need within the hour; the best take will be selected (uncut). The final length of the video should not exceed 5 minutes. A winner will be chosen and posted on NADA’s website and premiered at the Big Screen Project, a 30 x 16.5 ft HD ...